Trio in Three Movements for Violin, Viola, and Violoncello (Fine, Vivian)

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 1. Allegro con spirito (excerpt)
#217410 - 0.39MB - 31 seconds -  0.0/10 2 4 6 8 10 (0) - - !N/!N/!N - 502x

MP3 file (audio)
rhymesandchymes (2012/5/9)

 2. Intermezzo (excerpt)
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rhymesandchymes (2012/5/9)

 1. Allegro con spirito (complete)
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rhymesandchymes (2012/5/9)



Publisher Info.:

Vivian Fine Estate


Creative Commons Attribution Non-commercial No Derivatives 3.0 [tag/del]


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Sheet Music


 Complete score
#217405 - 3.22MB, 18 pp. -  10.0/10 2 4 6 8 10 (1- !N/!N/!N - 671x

PDF typeset by Paul Hawkins
rhymesandchymes (2012/5/9)

 Complete parts
#217406 - 3.54MB, 21 pp. -  0.0/10 2 4 6 8 10 (0- !N/!N/!N - 370x

PDF typeset by Paul Hawkins
rhymesandchymes (2012/5/9)

PMLP360762-Trio Strings Score.pdf
Publisher Info.:

Vivian Fine Estate


Performance Restricted Attribution Non-commercial No Derivatives 1.0 [tag/del]

However, the lawful copyright owner has generously released the file for distribution at IMSLP under one of the Creative Commons licenses or the IMSLP Performance Restricted License, which allow for the free distribution (with proper attribution) of the file with various levels of restriction with respect to the creation of derivative works, commercial usage, or public performances.


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General Information

Work Title Trio in Three Movements for Violin, Viola, and Violoncello
Alternative Title
Composer Fine, Vivian
Movements/Sections 3 movements
Allegro con spirito
Year/Date of Composition 1930
First Performance 1953-11-23 in Darmstadt, Germany, Hermann Trio (Karl-Albrecht Hermann, violin, Elizabeth Kramer-Buche, viola, Alexander Molzahn, cello)
Average Duration 10 1/2 minutes
Composer Time Period Modern
Piece Style Modern
Instrumentation violin, viola, and cello

Misc. Comments

In November and December Fine wrote an ambitious piece, Trio in Three movements for Violin, Viola and Violoncello (1930). The Trio shows how rapidly Fine was mastering compositional techniques. Naturally, in comparison to Solo for Oboe and the Four Pieces for Two Flutes, the Trio is thicker, but it also has more interesting rhythms, such as quintuplets and polyrhythms of five against four and four against three. Interestingly, Crawford had written suggesting that Fine practice scales in counter-rhythms, two against three, three against four, two against five, and so on, while paying attention to interesting off-accents that occur. Perhaps Fine was realizing Crawford’s suggestions in the Trio.

The form becomes more defined, as is apparent in the third movement’s rondo. Material is shaped by motivic patterns that appear throughout the various counterpoints. In the first movement, these patterns are meant to be recognized because the opening six measures are heard in unison before a three-part texture begins in measure 9. Soon the texture thickens, and the motifs in the cello are counterpointed with a prominent viola melody with brackets to indicate a haupt motif and accompanimental figures in the first violin.

There are several double stops, and at this time Fine did now have access to string players other than [her sister] Adelaide, so Fine imagined what Trio would sound like. She did look at scores by Hindemith and Schoenberg for ideas. Contrast among the instruments is marked by changes in dynamic markings, labeling of solo passages, and haupt motifs (indicated with brackets), which are shorter and more energetic material that that used in previous pieces. One suspects that the bracketing was probably influenced by her study of Schoenberg’s scores.

The second movement, titled “Intermezzo,” is a beautiful melody accompanied by a cello pizzicato ostinato. Later the melody is fragmented, passed among the instruments, heard doubled at the major seventh, and decorated before returning to a short recapitulation. “Rondo,” which is an attacca from the second movement, has a spirited motivic A section, a slower and more lyrical B section, and an imitative C section. The rondo pattern is not proportional – the second A is a three-measure remembrance of the original material; the C section is long and developmental; and the closing A is the same length and the original but, as is her custom, is not an exact repetition. With this movement Fine is moving closer to more sophisticated writing. Material is recombined, echoed, and varied, and ideas are juxtaposed.

—Heidi Von Gunden, The Music of Vivian Fine, Scarecrow Press, 1999


One was struck by the powerful expression of Vivian Fine’s String Trio.

Darmstaedter Tageblatt (Germany)
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